This chapter explores the impact of modal jazz within the framework of music psychology and creativity. Introduced into the jazz repertoire in the 1950s by pioneering figures such as Miles Davis and John Coltrane, modal jazz marked a radical departure from the chord-heavy structures of traditional jazz. Whereas bebop and earlier styles emphasized rapid harmonic progressions that often constrained improvisation, modal jazz allowed performers to remain on a single mode for extended periods, thereby creating a broader space for melodic and rhythmic invention.

The improvisational process in modal jazz often triggers a heightened sense of “flow,” where musicians transcend ordinary perceptions of time and enter an intense state of creative concentration. From the standpoint of music psychology, this highlights the role not only of technical skill but also of cognitive flexibility, emotional intensity, and aesthetic intuition in the creative act. For listeners, modal jazz offers a meditative and cyclical experience: instead of continuously shifting harmonic expectations, repeated modal centers create an atmosphere that feels timeless and contemplative.

Ultimately, modal jazz can be seen as a balance point between freedom and discipline in musical creativity. It represents not only a technical innovation but also an aesthetic, psychological, and even philosophical field of expression. In music education, modal jazz has the potential to cultivate improvisational competence and enhance cognitive flexibility, making it a valuable pedagogical tool. Thus, modal jazz may be regarded as a medium that strengthens both individual creativity and collective musical interaction.